Hou Zhuowu was first highly recommended to me by the art critic Peng De. Scanning through Hou Zhuowu’s painstakingly elaborated works from the last 5 or 6 years (about 30 of them), the most obvious characteristic is their large size (approximately almost 4 meters each) and their similar compositions. The tools and material the artist uses are all traditional, but in their core expression and effect they differ largely from traditional paintings, even to the extent of leaving one staring tongue-tied.

　　As somebody once said, the future of Chinese traditional painting lies in a transformation of concept and method. If these two things changed, only then would Chinese painting be able to destroy the fence of tradition from its roots, totally replacing the old and entering a modern or contemporary stage. This would make sense. But I also have a doubt, similar to the famous topic of conversation at the beginning of the last century relating to the issue of the growing independence of women: “What will become of Nora after she leaves her family?” (Henrik Ibsen’s play A Doll’s House). So I’m more willing to believe that the way out for Chinese traditional painting lies in its need for expression (of thought, emotion, spirituality, and most definitely that arising from the innermost being). It is reasonable now to try to transform concept and method just for this need of expression; it has to be done. Only in this way can Chinese traditional painting transform from making a partial breakthrough to taking on a new look--- a leap in the change of so-called “quality”. I believe that all that Hou Zhuowu at present choses and holds on to is really this last idea. And I’m further convinced of the principle that deep concern about something awakens wisdom; it is this strong urge of expression and power of thinking that makes Hou Zhuowu paint this way.

　　Thus the added value of this series of works lies in their heavy connotations and the profundity of the ideas portrayed. This is rarely seen in the current arena of Chinese traditional painting, or even within the confines of contemporary art.

　　To make interpretation easier, from a personal perspective I would divide the paintings into six groups:

　　1. Landscapes with people:

　　Two paintings would be included here: ‘Dejected and Expextant’ and ‘Hope and Redemption’, both created in 2006. The most noticeable thing is that the artist creates the core imagery with white line drawing. The human bodies appear with their arms and legs spread out and lying on their backs or down on their knees in prayer. Although one can distinguish a man and a woman, it can be taken that both are self-portraits of the artist, namely the distressed subject. Apart from this, there is a basic set of imagery that the artist himself has set up: ribcage carcasses, human skulls, snapped branches, withered trees, thorny undergrowth, crosses, etc. All these can be read as symbols of the human predicament. According to the artist himself, “this is the current panorama we face”. Ultimately, there is also extended imagery: flowers and plants, trees, rubble heaps, thatched houses, fog blankets, mist, etc. They seem as if they are playing up to the atmosphere of an era, imposing and surreptitious, making people shudder unable to differentiate from what is true and false, from what is good or bad luck. (These last two groups of images are repeatedly used in the works described below, thus I won’t go into further details for now).

　　Thus it can be seen that the image system that the artist meticulously sets is made up of “clusters of images”. These “clusters of images” can be divided into three inner and outer layers. Pushing on from layer to layer, from the inside outwards or vice-versa, these images slowly penetrate and peel into the “substance” as if it were a bamboo shoot, making it increasingly evident.

　　These two paintings can be seen as a “prelude” to the series of paintings that follow; an “entrance” and a “net” for example here seem of strong significance.

　　2. Landscapes depicting famous personages or masterworks:

　　Here three paintings would be included: ‘Dali of the Evening Series’, ‘Pope Francis Bacon in the Shadow and the Huge Chinese Dragon in the Make’ and ‘Watcher’. What might be most displeasing to the eye in this group of works is that the artist “makes a parody” of great masters of art history known to everyone, like for example Salvador Dali, or masterworks (like Francis Bacon’s “revolutionary art” and Yuan Dynasty Zhao Mengfu’s ‘Autumn Scenery of Magpies and Flowers’). In their methodical approach, one could classify the works as cultural and political “Pop art”. Amongst these works, the intention of ‘Evening Series’ is to ridicule the “pope” of modern western art history-- Dali. When he appears in a painting he is always off far in the distance. The central image of ‘Pope Francis Bacon in the Shadow……’ appear to be two things that do not mix together at all: Bacon’s famous painting of a distorted image of the Pope and a “Chinese dragon” in the make (like the Babel Tower in the Bible). One dictator, one “utopia”. The combination of these images creates a sense of irony, something which a person with a discerning eye should be able to sense. The central image of ‘Watcher’ is a great deceased personage known to all. Around him are scarecrows (symbolizing illusion), tomb statues, funeral banners and ancient paintings from the Yuan Dynasty, as if filling the air with decadent feudalist smell. What seems most unintelligible is a cuboid-like “red structure” that crosses over the picture. Could these two be symbols of the political and economic situation of an era? A hill in the distance made of stacked up sticks seems like a grave made of piled up skeletons.

　　3. Landscapes with huge trees:

　　Here are included ‘Night Mountain’, ‘Tree Portrait Series’, ‘Broken’, Processional Banners and Weapons’, etc. In these paintings there appear either upright solitary peaks, cracked hillsides, a few age-old pine trees pointing to the sky like sharp arrows, eerie green twigs winding halfway up mountains; or mounds of chopped wood, piled up to look like mountains of bodies; or a decadent dense forest scenery of gigantic ancient pine trees that have been cut round the middle, and so on. Different species of trees appear, and no matter whether one can tell them apart the artist all the more seems to show a deep appreciation towards them, repeatedly singing to them, chanting, praising them.... Simply on account of the following: 1. They are symbols of nature, and so their fate is also a natural fate. Natural fate serves as a foil to civilization or to its degree of savageness. The artist bosoms keenly felt pain, and has even written a “denunciation” on the calamities suffered by the environment. 2. The use of symbolism in the paintings. In his humanoid ‘Tree Portrait Series’, what the artist wants to show is really the trampled on fate and nature of scorned ordinary people. In this sense the paintings where “huge trees” appear are in fact portraying the human condition 3. Symbols of collective willpower. Apart from the landscapes with huge trees, in many paintings (like ‘Red Mountain–Obstruction, ‘Watcher’ etc.) there appear stretches of forests or lush and majestic looking groves. These “big trees”, symbols of collective willpower, seem to be fighting against some authority of evil power.

　　4. Landscapes with animals:

　　The paintings included here are ‘Confined’ (with black bears), ‘Sacrifice’ (with pigs), ‘Youthful Colour’ (with “deceptive” peacocks), ‘Flap’ (with big birds), ‘Forging Ahead’ (altogether two paintings with horses), etc. Amongst these, black bears and pigs can be considered the symbols of vitality and human nature. These appear either confined in “metal cages”, randomly slaughtered or offered up as sacrifice. This tragic state of affairs is a portrayal of an animated era. Here, there is a sharp relation between the symbols and their metaphors, and one can draw support from allegoric association to get to the meaning hidden behind the codes. In contrast, the “deceptive” peacocks, the big birds with broken wings and the walking horse-skeletons seem relatively more veiled in meaning. These symbols have been molded with a more indirect approach. The “deceptive peacocks” make me think of the many truths hidden by lies; and the dilapidated walls and the sight of mountain rivers running through the rubble become the key to the recognition of that truth. The broken wings of the “big bird” bring into mind the destruction of a generation with deceptive ideals. And those few “bravely forward moving horse skeletons” make me think of something a philosopher said in the 1980’s: “The sunset of the Middle Ages has not fully receded, and we instead regard this as the dawn of Communism, yelling loudly and advancing towards it.”..... How absurd when you think about it nowadays! Is this not the same predicament and confusion we once encountered? The images can also be interpreted as being people’s undying spirit and incessant struggle. Owing to this veiled approach it is hard to avoid making several interpretations.

　　5. Landscapes with the “red” color or “black curtains”:

　　Ten paintings can be included here, the most representative being ‘Heritage • Memory’, ‘Red Mountain–Sacrifice’, ‘Red Mountain–Altar’, ‘Curtain’, ‘Altar • Ruins’, etc. Using symbols and metaphor, these pieces touch upon the main subject of the “red revolution” that lasted for more than half a century (including the Cultural Revolution and the proletariat’s “violent revolution”). In these paintings there appear symbols of those “red revolutions” (memorials, stars, red flags, “huge statues of the leader”, etc.). The blood red dyed on the paper appears in a straightforward manner, the rest being more obscure symbolism. Drawing support from both these “indirect” and “direct” approaches, the artist attempts once more to freeze frame page upon page of a heavy history dyed with fresh blood, a history where piles upon piles of bones of the dead are laid out, without any kind of pretentious conduct of “praising anyone”. Thus “facing bleak life, facing dripping blood” (quote from Lu Xun), the depictions seem all the more imposing, possessing reflective qualities and leaving people with a jumble of feelings almost unbearable to recall.

　　This new attempt to display the “red” theme comes across as a bold breakthrough, though what I find somewhat inadequate is that the artist makes use of a sort of “grand narration”. Unavoidably, this kind of concrete image “narration” method is deficient in certain aspects, like in its lack of touching details. The “symbols” are excessively jumbled and not elaborate enough.

　　6. Landscapes with “wrapped-up things”:

　　Here are included the paintings ‘Wrapped Trees, ‘Landscape With Wrapped-Up Objects”’etc. As everyone surely knows, in the end of the last century there appeared the famous “wrapping art” duo, Christo and Jeanne-Claude. Their most famous work was ‘Wrapped Reichstag’, which at once took the world by storm. Christo believed that the moment when space is seized is full of poetic beauty. Hou Zhuowu most likely does not agree to this idea, painting in a “flat surface” one “wrapped-up” object after another... But why exactly? It is probably somewhat confusing, but I can attempt to give a few answers. Firstly to symbolize a hidden behaviour. Truth (including historical events) has in many instances been wrapped up and tightly sealed in a “bundle”, allowing it to become one mystery after another, with a heavy black curtain hanging. The implicit meaning of the symbols portrayed seem to be telling people: make all efforts to expose the truth, restore the truth! Secondly, the existence of metaphoric lies. Real life is flooded with all kinds of seemingly absurd lies (just like those “wrapped-up things”). The implication seems to be telling people in their everyday lives that they should not readily be credulous. As regards any lie, one should have the courage and capability to think independently, only in this way can the lie destroy itself. Thirdly, the imprisonment and killing of life. In the painting ‘Wrapped Trees’ this shows very clearly.

　　From the above mentioned six groups of works, we can deeply see that a generation has the memory of a generation; a generation has the thoughts of a generation; and a generation has the responsibility of a generation. Just like a contemporary philosopher said: “Each generation must face up to itself. Each generation is unique, and each generation abides by some sort of predestined order. Each person has poised on his head a star that treads on an assigned mission concerning the value and meaning of one’s life.” (From Wang Kang’s book Russia’s Revelation, pg.143). It is just a pity that the current Chinese art circles are putting on farce after farce of collective money worship, hyping on undeserved reputation. Once someone said that “the streets are full of professors, and there are as many great masters as dogs.” On the one hand the restless wind grows in intensity, but on the other hand the power to think is withering day by day. In this environment, the appearance of Hou Zhuowu and his abovementioned works is just like a rare, unexpected appearance with an enlightening effect.

　　As for his linguistic style, Hou Zhuowu comes across as a Don Quixote figure. In order to achieve a more direct and expressive style, he boldly challenges the linguistic standards of traditional ink painting, especially those of literati painters. In his own words, it is like “burning a lute for fuel and cooking a crane for food”. For example, when he uses the brush he does not do so with “calligraphic flourish”, or with the classical Chinese painting technique of “dotted coloring”, but instead he shows his teeth, the lines under the brush becoming like the cutting edge of a knife or a sharp arrow. In the use of Chinese ink, he does not limit himself to the usual “five basic colors”, or a style with intense “flowing vitality”, but instead brings out a metal-like blackness, a hammer-like heaviness, a cloud-like thinness and a smoke-like lightness. He pulls further apart the two extremes of thickness and lightness, strengthening the tension of contrast and language. Yet, from time to time, in some sections we can see the sentiment of Song dynasty artists, especially of Fan Kuan’s certain established “paradigms”, like painting in layers of ink, or the texturing method of rain spots. The handling of clouds and water lines can be traced back to the painting styles of the Jin and Tang Dynasties. Just like the artist himself said, there is space to lively develop worthy traditional experience; the wings for the development of modern art come from “threading together the old and new”. Style-wise, he is not limited by the tradition of painting mountains, rivers, flowers and birds, but in the basis of a certain landscape style (vertical scroll), he boldly “cuts across” ancient and modern, eastern and western, using methods similar to that of Pop-art’s cross mixing of things, or the surrealist style, fabricating a new pictographic structure. As for now, this structure is still in an experimental stage, and some “crossing points” do not seem to be flowing comfortably enough, still seemingly stiff and hard to grasp. It seems that more practice is needed to refine the art of destroying the old to replace with the new.

　　In the meantime, Hou Zhuowu boldly challenges as well western trends. Firstly, he does not follow fashions, nor drifts with the tide. Therefore, the above mentioned works cannot be included in any western, or contemporary “-ism” or school, and one can even say that he opposes “Occidentalism”. As a whole, he has managed to learn from the past to move forward, with the result that he presses close to Chinese tradition, and makes the “roots” plunge in more deeply. Secondly, he adopts the method of incorporating and fusing many different elements like “pop”, “realistic painting”, “magic realism” and “surrealism”, and “translates them into Chinese” (in Hou Zhuowu’s own words), thus “threading together the old and the new” in a new way. But because it is a “blend” it is hard to avoid leaving people with a feeling of it being something in a vague and ornate “rhythmical prose style”. This is a new problem that the artist needs to deal with in his future works, and it seems that he is determined to overcome it: “Between preservation, tradition, and the contemporary there is a twofold feeling of distance” (in Hou Zhuowu’s own words). And it is not an easy thing. Here it is a kind of relationship between the previous and the later, with no turning back, just rushing ahead duty-bound with no second thoughts.

　　In The Book of Liezi, there is such a sentence: “That which underlies the manifold workings of Destiny is called Evolution; that which produces and transforms bodily substance is called Illusion.” From this perspective, Hou Zhuowu’s creative disposition is still in a “primary stage”, at a distance from the goals he has set himself with. “Extremely contemporary but at the same time balancing with a new cultural spiritual traditional marrow; a new painting style”.... It is still far away.

　　“When substance overshadows refinement, it is churlish.” (Analects of Confucius). “A well-balanced mixture of both will result in a more implicit and deep, a more forbearing conveyance.” (In Hou Zhuowu’s own words). This will become his only choice.

　　There has always been this hard to accept notion around us that “the nail that sticks out is hammered down”. Thus, Hou Zhuowu’s “alternative way of thinking”, his “off the scale display”, his “unadorned paintings” and his new painting style in the make will inevitably attract people in the contemporary art world that either regard him with special respect or loathe him. Thus, he is doomed to become a lone “cultural gladiator”, harboring a loneliness that will deeply fill his heart and accompany him throughout.

　　No matter whether this is a good thing or not, it is the fate of a generation.

　　15th of July 2012. Caolu Studio, Nanjing